By A. D. Mills
An extended model of the best-selling Dictionary of English Place-Names, this dictionary now additionally covers Scottish, Welsh, and Irish place-names. From Abbas Combe to Zennor it offers the that means and foundation of over 15,000 British place-names.
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Extra info for A Dictionary of British Place-Names
Do you really think otherwise? I believe such violence is more and more anathema to sensitive or at least frightened parents who feel less and less in control over what their kids say and do, and what others say and do to them. And our concern must be that frightened parents will turn to other, perhaps more eﬀective, authorities to do what they cannot do, to make us do what their concerns have not led us to do. (Heﬀner to Wells, November 15, 1979, in Heﬀner, “Reminiscences,” box 1) As we will see, Heﬀner’s fears about the potential of audience backlash against screen violence became a reality in the early 1980s when groups picketed the release of ﬁlms such as Dressed to Kill and Cruising and parents and critics alike were appalled by the levels of violence allowed in supposed children’s ﬁlms like Gremlins and Indiana Jones and the Temple of Doom.
In the late 1960s and throughout the 1970s, Kael was at the forefront of the American ﬁlm vanguard, championing tough, violent ﬁlms like Bonnie and Clyde, Carrie (1976), and Taxi Driver, and she expressed dismay at the shift in what she termed “‘more discriminating’ moviegoers” who “don’t want that sense of danger” and instead “want to remain in control of their feelings” (137). Kael explicitly marked the shift in terms of screen violence, noting that “audiences hiss the sight of blood now. . ’ They hiss the blood as if to belittle it, to make it less menacing” (141).
Prince oﬀers an example from Scarface in which a bowling pin spinning and falling stands in for the collapsing body of Gaﬀney (Boris Karloﬀ) as he is shot oﬀscreen by Tony Camonte (Paul Muni) and his gang. Indexical pointing is a similar concept, except that what we see on-screen has a direct connection to the violence that is taking place oﬀscreen. A good example of this is “shadow play,” in which we see a violent action rendered only as shadows on a wall, which allows us to see exactly what is happening, although indirectly (Prince cites several good examples, including the initial killing in Scarface and the killer ape strangling Dr.